There are only two ways by which a protagonist may encounter an antagonist. Either the main character must go to the villain or the bad guy must come to the hero.
Despite the extreme limitation of the come-or-go nature or such encounters, writers have exercised a fair amount of creativity in varying the means by which their characters rendezvous with their destinies as these fates are embodied by the antagonistic beings or forces they engage. Moreover, in doing so, they often offer a contemporary variation upon an older theme. Indeed, the variation’s tie-in with a familiar predecessor can be a selling point in pitching a series to studio or network executives. Gene Roddenberry, the creator of the television series Star Trek, for example, pitched his series as a “Wagon Train to the stars.” (Wagon Train is a television Western in which pioneers traveled West in a wagon train, encountering adventures along the way; the series’ unity and continuity was supplied by the continuing presence of the main cast.) In producing Firefly, Joss Whedon followed Roddenberry’s lead, making his spaceship and its crew stand-ins for the wagon train and its team. Obviously, whether Conestoga wagons or spaceships, it was the vehicle, in all three series, which transported the adventurers to the adventures wherein they met their adversaries.
Another of Whedon’s television series, Buffy the Vampire Slayer, exemplifies the opposite approach. The show’s protagonist, Buffy Summers, stays put (on the Hellmouth, a center of convergent mystical forces that attracts all manner of paranormal and supernatural entities and forces), and the bad guys come to her.
These two approaches to introducing the white hats to the black hats have been subjected to a wide range of variations, as a consideration of television series, staged plays, movies, and printed fiction (epic poems, short stories, and novels) shows. Have Gun, Will Travel, a Western in which the main character, Paladin, a mercenary gunfighter, traveled from town to town to mete out justice for a price, took the predatory protagonist to his prey. In Maverick, another Western, a pair of brothers, both professional gamblers, roamed from town to town seeking a pair of jacks or better and, often, a couple of frontier temptresses upon whom to spend their winnings, managing to get into trouble of one kind or another along the way. Han Solo, Chewbaca, Luke Skywalker, Princess Leia, and other Star Wars characters flit about the universe, engaging the evil Emperor Palpatine, the emperor’s chief enforcer, Darth Vader, and the empire’s army of star troopers. Aided by Gandalf, Aragorn (“Strider”), Galadriel, Legolas, and others, Lord of the Rings' Frodo Baggins, accompanied by Merry, Pippin, and Sam Gamgee, journey from the Shire to Mordor to destroy the One Ring, encountering the Dark Riders or Ring-Wraiths, the Balrog, Orcs, Saruman, Shelob, Gollum, and many other adversaries along the way.
Stephen King’s novels also exemplify the twofold means of introducing protagonists to whatever form of death and destruction they are destined to encounter, although the bad guys more typically come to the good guys than otherwise. In Carrie, evil comes to Carrie White in the form both of the mother with whom she lives and the classmates with whom she attends school. In Desperation, Tak escapes a caved-in mine to possess the residents of the Nevada town, but David Carver has the misfortune to be passing through Desperation with his family at the time. In It, the protean antagonist comes to Derry, Maine, every 27 years to gorge upon the townspeople’s children. It is the merchandise--and what the customers who buy it are willing to do to obtain it--that the antagonist, Leland Gaunt, brings to Castle Rock, Maine, that provides the malevolence in Needful Things.
Writers can enhance the comings and goings of characters by associating their sources of evil with existential states or conditions, with negative or harmful behavior, and with the follies and foibles of human nature. In Cujo, the rabid Saint Bernard seems to symbolize the infidelity of wife and mother Donna Trenton, whose adulterous affair not only destroys her marriage but leads, indirectly, to the death of her son. Likewise, the villains of Buffy the Vampire Slayer often represent such undesirable states, conditions, behaviors, or foibles as being ignored by one’s peers (“Out of Sight, Out of Mind”), drinking to excess (“Beer Bad”), abusive relationships (“Beauty and the Beasts”), substance abuse (“Wrecked”), and other personal and social demons of teenage and young adult life. Those stories based upon a journey or a quest may be vehicles for their protagonists’ self-discovery and enlightenment as well or a means for exposing social or political hypocrisies, false values, or other community or national shortcomings or transgressions. For example, many view religious faith as a positive force, but King’s Carrie and Children of the Corn suggest that religious fervor, when it becomes extreme, or fanatic, can be a force for evil rather than for good, as do the works of many other writers in both the horror genre and others. Likewise, religious faith that borders upon doubt and despair can be hazardous to one’s health, King’s Cycle of the Werewolf and ‘Salem’s Lot suggest. Evil, as always, flourishes in the shadow of righteousness.
Friday, October 30, 2009
Friday, October 23, 2009
Extrapolations
Copyright 2009 by Gary L. Pullman
For many authors, plotting is one of the more difficult aspects of writing fiction. However, when one faces difficulty in this enterprise, he or she may take a lesson from Buffy the Vampire Slayer’s Angel, who, in answer to Drusilla’s question as to what they should do when Angel’s attempt to awaken the demon Acathla fails, says, “Turn to an old friend” (“Becoming”). High school librarian and member of the Watchers Council Rupert Giles is straightaway kidnapped and tortured. When Drusilla uses her powers of hypnotism and magic to “see inside” Giles’ mind, thus learning of the librarian’s love for the late Jenny Calendar, she assumes the persona of Giles’ lost love and wheedles the information that she and her fellow vampires seek from the heartsick Watcher, and, in Spike’s words, “wackiness ensues.”
One “old friend” concerning plotting is the work of other writers. No, I’m not recommending plagiarism, but the study of technique. It’s never plagiarism, as numerous court cases have proven, to use the same idea as someone else, as long as one’s treatment of the idea is one’s own. Thus, countless stories have been told, both in print and on film, of vampires, demons, witches, werewolves, and other creatures of the night.
The same is true with regard to methods of generating plots: the work of other writers can be the “old friend” whose consultations suggest plots for one’s own fiction. By extrapolating from the characters, settings, and themes that appear in other writers’ work, one can generate ideas for his or her own fiction.
Since, I’ve watched most of the Buffy episodes multiple times, I will use this series as the basis for exemplifying my points.
Capitalize upon Characters’ Familial Relationships
Let’s start with Buffy’s mom, Joyce Summers. After Buffy was expelled from Los Angeles’ Hemery High School for burning down the gymnasium, Joyce and her husband Hank divorced, and Joyce and Buffy relocated to Sunnydale to start life anew. To support them, Joyce opened an art gallery. The series never explains how she financed the move and the opening of the gallery, although one might assume that, perhaps, the money came from her divorce. However, since the source of the money is never actually explained, the financing of Joyce’s and Buffy’s relocation to Sunnydale and of the opening of Joyce’s gallery provide an opportunity for a plot, and one could write an episode wherein it is explained that Joyce’s father or uncle is the moneybags who paid for both the relocation and the opening of the gallery; indeed, he may also be one of the handful of financiers who pays the bills of the Watchers Council itself and, as such, he may or may not have had ulterior motives in addition to, or in lieu of, his altruistic (or apparently altruistic) reasons for helping Joyce and Buffy.
Likewise, computer geek and witch’s apprentice Willow Rosenberg could have, either at Giles’ request or on her own initiative, developed a database of vampires, demons, and other monsters that automatically updates itself whenever she, Giles, Buffy, or Xander (the core members of the “Scoobies”) logs onto the computer--possibly with unanticipated and dangerous results.
Offer Alternate Explanations
In one episode, Hank, visiting Buffy in one of her nightmares, tells her that she is the reason that he and Joyce divorced (“Nightmares”). He tells her that she is a disappointment to him. Not only is she not as bright as he’d hoped she would be, but she also didn’t turn out as he’d anticipated she would. The whole scene is bogus, a product of Buffy’s own insecurities, brought about by a comatose boy’s ability to make others experience bad dreams even as he struggles with his own nightmares. However, the scene raises an interesting question. Why did Hank and Joyce divorce? The true answer to this question could be the genesis of another episode of the series.
Work Your Setting
Sunnydale is located on a Hellmouth. As a result, all manner of nightmarish creatures with “dark powers” are attracted to the town. The Hellmouth also influences both the everyday events that occur in Sunnydale and the personal behavior of its residents. Why, then, shouldn’t the merchandise sold by one of the town’s many shops be tainted, as it were, with evil, causing those who buy it to do wicked deeds?
Introduce New Characters
The series itself uses these same strategies to develop storylines. New characters are constantly introduced to spark plots, sometimes for an individual installment of the show, but more often for several episodes of the series. Some become regularly featured supporting characters; others, occasionally recurring players. Examples include Amy Madison, Willy the Snitch, Whistler, Chanterelle (who later reappears as Lily), Kendra, Faith, Wesley Wyndham-Price, Spike and Drusilla, Riley Finn, Hank Summers, Dawn Summers, and many others.
Use Parallel Plots
Sometimes, the introduction of such characters allow the series’ writers to formulate parallel plots: what happens between two characters, such as teacher Grace Newman and her high school student paramour James Stanley mirrors the antagonistic, love-hate relationship between Buffy and Angel (“I Only Have Eyes For You”). Willow’s eventual discovery of her lesbianism is heralded by the sexual ambiguity of her vampire double who resides in the alternate universe conjured up by Anya, the vengeance demon (“Dopplegangland”). Xander Harris’ insecurities are highlighted when a spell causes a suave, confident, and capable version of himself to appear alongside him (“The Replacement”).
Use Subplots
As Buffy wails on a vampire to release her frustrations, doubts, and fears about her mom’s new boyfriend Ted Buchannan’s usurpation of her mother’s love and attention, confiding to Giles that vampires are evil because they bake delicious meals after taking over one’s home, Giles tells her that her life‘s “subtext is rapidly becoming text.” Likewise, Xander, adopting the role of the psychoanalyst, diagnoses Buffy’s dislike for Joyce’s paramour as representing Buffy’s insecurity of losing her mother to a new “father figure” (“Ted”).
Employ Foils
The series often uses foils, very adroitly, to showcase the attributes, positive and negative, of both Buffy herself and the show’s other recurring characters. Kendra and Faith, each in her own way, are foils to Buffy. Sharp-tongued Cordelia Chase is a foil to witty Xander. Pompous and inept Wesley is a foil to humble and competent Giles. All-American, coren-fed Iowan Riley is a foil to Angel and the other “bad boys” in Buffy’s life. Unrepentant Ethan Rayne is a foil to repentant Giles, as was Jenny Calendar, computer geek extraordinaire, and Giles, the Luddite bookworm.
Back Up Your Characters’ Present Lives
Buffy makes frequent use of the back story to generate storylines while enriching the show’s characters. After Angel appears for nearly 32 episodes, viewers are finally treated to his back story, learning how he was transformed into a vampire, how he tormented Drusilla, how his soul was restored to him in a gypsy curse, and how he met his mentor and was introduced to Buffy (“Becoming”). Other characters’ back stories are provided in a similar fashion in other of the series’ episodes.
Use Artifacts
Have characters discover artifacts that are imbued with supernatural or paranormal power. Not only does Buffy employ this technique for generating plots in such episodes as “Inca Mummy Girl,” (a seal), “Life Serial” (a mummy’s hand), “Becoming” (the sword of the virtuous knight who encased Acathla in stone and, it might be argued, the stone Acathla himself), “I Robot. . . You Jane” (a book in which a demon’s spirit has been imprisoned), “Halloween” (Ethan’s enchanted costumes), and others, but this is also the whole basis of Warehouse 13, a show created by one of Buffy’s alumni, writer Jane Espenson.
Devise a Plot Generator (or Two)
A plot generator, or McGuffin, as Alfred Hitchcock calls this device, is simply an element of the plot that exists for no other reason than to propel the storyline forward. In Hitchcock's own work, such McGuffins include the money stolen by Marion Crane in Psycho, the gift of the lovebirds in The Birds, and the uranium in Notorious. In Buffy, the Hellmouth, which attracts evil agents because it is a center for the convergence of mystical energies, is a plot generator. It could be argued that the witchcraft that is practiced by Willow, Giles, Jenny, Ethan, and other characters in the series is also a plot generator, for many of the show’s storylines result from the casting of spells and curses and other effects of witchcraft.
Relate Your Story to Past and Future Times (and to Other Worlds)
The idea that there is a long line of vampire slayers, the latest of whom happens to be Buffy, allows the writers to relate the series’ present to past slayers’ lives and deeds, as does the extraordinarily long lifespan of demons such as Darla, Angel, Drusilla, and others. The presence of characters who can defy the physical laws of the universe by the practice of magic also allows the writers to create alternate realities, parallel dimensions, and futuristic worlds, thereby expanding the setting and the narrative possibilities of the series almost infinitely.
Write Cross-Genre Fiction
Dean Koontz was one of the first big-name writer to pen cross-genre fiction, simultaneously including in his work elements of horror, fantasy, science fiction, romance, and the thriller. As a result, he interests many more readers than he might have attracted had he restricted himself to science fiction and horror, the two genres in which he initially made his mark. Not only does Buffy’s creator, Joss Whedon, likewise increase his series’ fan base by tossing several literary genres into the Buffy stew, but he also increases the possibilities for storylines. The slayer, for example, can be in love with a vampire whom she may have to kill or who may kill her, her family, or her friends, and the monsters whom she fights can be the products of mystical forces, scientific experiments gone awry, visitors from other worlds or realities, government agents, or dead men walking.
Use Pastiche
Pastiche is the imitation of another literary style, convention, trope, character, storyline or other element. Sometimes, pastiche is ironic or satirical, but it need not be. By availing oneself of the traditions and conventions of the genre or genres of which one’s own work is an example, one can realize many ideas for plots that otherwise would go by the wayside. Buffy is certainly not shy about using pastiche to generate storylines, as a number of episodes’ plots suggest:
“Out of Sight, Out of Mind”/The Invisible Man
“Some Assembly Required”/Frankenstein
“Inca Mummy Girl”/The Mummy
“Go Fish”/The Creature From the Black Lagoon
“Beauty and the Beasts”/The Strange Case of Dr. Jekyll and Mr. Hyde
“Dead Man’s Party”/Pet Sematary, The Night of the Living Dead, the Gorgon myth
“Gingerbread”/“Hansel and Gretel”
“Buffy vs. Dracula”/Dracula
“Life Serial”/Groundhog Day
Whatever leaf one takes from the tree of another’s work, whether by capitalizing upon familial relationships, offering alternate explanations, working the setting, introducing new characters, using parallel plots, using subplots, employing foils, enriching characters’ lives with back stories, using artifacts, devising a plot generator, relating the story’s present to past or future times, writing cross-genre fiction, or using pastiche, it is necessary in such extrapolations to make the use of these elements one’s own. For example, Buffy uses many of the traditional characters of horror and science fiction, including the werewolf, Dr. Jekyll and Mr. Hyde, the invisible man (or girl, in Buffy), the mummy, and others. However, in doing so, by associating these stock characters both with existential crises in the lives of the Buffy characters themselves and, through the use of metaphor, a universal state or condition that is common to all humanity, the show’s writers make the use of such characters their own. The werewolf (“Phases”) symbolizes the volatile moodiness of youth (and, in Buffy, emphasis is laid upon the humanity of the werewolf, which, after all, is human 27 days out of the month); the Dr. Jekyll and Mr. Hyde figure (“Beauty and the Beasts”) is a metaphor for the violent lover in an abusive relationship; the invisible girl in “Out of Sight, Out of Mind” is ignored by everyone else and thus represents the effects (and cruelty) of being excluded by one’s peers; the mummy in “Inca Mummy Girl” symbolizes a life sacrificed for others and is, therefore, a character whose predicament parallels that of Buffy herself, who longs to lead a normal life, but must often sacrifice her own desires for the welfare of others, including society and even humanity itself.
By employing these same techniques for generating storylines in one’s own fiction, a writer will find that he or she has a surfeit of plots rather than a few.
For many authors, plotting is one of the more difficult aspects of writing fiction. However, when one faces difficulty in this enterprise, he or she may take a lesson from Buffy the Vampire Slayer’s Angel, who, in answer to Drusilla’s question as to what they should do when Angel’s attempt to awaken the demon Acathla fails, says, “Turn to an old friend” (“Becoming”). High school librarian and member of the Watchers Council Rupert Giles is straightaway kidnapped and tortured. When Drusilla uses her powers of hypnotism and magic to “see inside” Giles’ mind, thus learning of the librarian’s love for the late Jenny Calendar, she assumes the persona of Giles’ lost love and wheedles the information that she and her fellow vampires seek from the heartsick Watcher, and, in Spike’s words, “wackiness ensues.”
One “old friend” concerning plotting is the work of other writers. No, I’m not recommending plagiarism, but the study of technique. It’s never plagiarism, as numerous court cases have proven, to use the same idea as someone else, as long as one’s treatment of the idea is one’s own. Thus, countless stories have been told, both in print and on film, of vampires, demons, witches, werewolves, and other creatures of the night.
The same is true with regard to methods of generating plots: the work of other writers can be the “old friend” whose consultations suggest plots for one’s own fiction. By extrapolating from the characters, settings, and themes that appear in other writers’ work, one can generate ideas for his or her own fiction.
Since, I’ve watched most of the Buffy episodes multiple times, I will use this series as the basis for exemplifying my points.
Capitalize upon Characters’ Familial Relationships
Let’s start with Buffy’s mom, Joyce Summers. After Buffy was expelled from Los Angeles’ Hemery High School for burning down the gymnasium, Joyce and her husband Hank divorced, and Joyce and Buffy relocated to Sunnydale to start life anew. To support them, Joyce opened an art gallery. The series never explains how she financed the move and the opening of the gallery, although one might assume that, perhaps, the money came from her divorce. However, since the source of the money is never actually explained, the financing of Joyce’s and Buffy’s relocation to Sunnydale and of the opening of Joyce’s gallery provide an opportunity for a plot, and one could write an episode wherein it is explained that Joyce’s father or uncle is the moneybags who paid for both the relocation and the opening of the gallery; indeed, he may also be one of the handful of financiers who pays the bills of the Watchers Council itself and, as such, he may or may not have had ulterior motives in addition to, or in lieu of, his altruistic (or apparently altruistic) reasons for helping Joyce and Buffy.
Likewise, computer geek and witch’s apprentice Willow Rosenberg could have, either at Giles’ request or on her own initiative, developed a database of vampires, demons, and other monsters that automatically updates itself whenever she, Giles, Buffy, or Xander (the core members of the “Scoobies”) logs onto the computer--possibly with unanticipated and dangerous results.
Offer Alternate Explanations
In one episode, Hank, visiting Buffy in one of her nightmares, tells her that she is the reason that he and Joyce divorced (“Nightmares”). He tells her that she is a disappointment to him. Not only is she not as bright as he’d hoped she would be, but she also didn’t turn out as he’d anticipated she would. The whole scene is bogus, a product of Buffy’s own insecurities, brought about by a comatose boy’s ability to make others experience bad dreams even as he struggles with his own nightmares. However, the scene raises an interesting question. Why did Hank and Joyce divorce? The true answer to this question could be the genesis of another episode of the series.
Work Your Setting
Sunnydale is located on a Hellmouth. As a result, all manner of nightmarish creatures with “dark powers” are attracted to the town. The Hellmouth also influences both the everyday events that occur in Sunnydale and the personal behavior of its residents. Why, then, shouldn’t the merchandise sold by one of the town’s many shops be tainted, as it were, with evil, causing those who buy it to do wicked deeds?
Introduce New Characters
The series itself uses these same strategies to develop storylines. New characters are constantly introduced to spark plots, sometimes for an individual installment of the show, but more often for several episodes of the series. Some become regularly featured supporting characters; others, occasionally recurring players. Examples include Amy Madison, Willy the Snitch, Whistler, Chanterelle (who later reappears as Lily), Kendra, Faith, Wesley Wyndham-Price, Spike and Drusilla, Riley Finn, Hank Summers, Dawn Summers, and many others.
Use Parallel Plots
Sometimes, the introduction of such characters allow the series’ writers to formulate parallel plots: what happens between two characters, such as teacher Grace Newman and her high school student paramour James Stanley mirrors the antagonistic, love-hate relationship between Buffy and Angel (“I Only Have Eyes For You”). Willow’s eventual discovery of her lesbianism is heralded by the sexual ambiguity of her vampire double who resides in the alternate universe conjured up by Anya, the vengeance demon (“Dopplegangland”). Xander Harris’ insecurities are highlighted when a spell causes a suave, confident, and capable version of himself to appear alongside him (“The Replacement”).
Use Subplots
As Buffy wails on a vampire to release her frustrations, doubts, and fears about her mom’s new boyfriend Ted Buchannan’s usurpation of her mother’s love and attention, confiding to Giles that vampires are evil because they bake delicious meals after taking over one’s home, Giles tells her that her life‘s “subtext is rapidly becoming text.” Likewise, Xander, adopting the role of the psychoanalyst, diagnoses Buffy’s dislike for Joyce’s paramour as representing Buffy’s insecurity of losing her mother to a new “father figure” (“Ted”).
Employ Foils
The series often uses foils, very adroitly, to showcase the attributes, positive and negative, of both Buffy herself and the show’s other recurring characters. Kendra and Faith, each in her own way, are foils to Buffy. Sharp-tongued Cordelia Chase is a foil to witty Xander. Pompous and inept Wesley is a foil to humble and competent Giles. All-American, coren-fed Iowan Riley is a foil to Angel and the other “bad boys” in Buffy’s life. Unrepentant Ethan Rayne is a foil to repentant Giles, as was Jenny Calendar, computer geek extraordinaire, and Giles, the Luddite bookworm.
Back Up Your Characters’ Present Lives
Buffy makes frequent use of the back story to generate storylines while enriching the show’s characters. After Angel appears for nearly 32 episodes, viewers are finally treated to his back story, learning how he was transformed into a vampire, how he tormented Drusilla, how his soul was restored to him in a gypsy curse, and how he met his mentor and was introduced to Buffy (“Becoming”). Other characters’ back stories are provided in a similar fashion in other of the series’ episodes.
Use Artifacts
Have characters discover artifacts that are imbued with supernatural or paranormal power. Not only does Buffy employ this technique for generating plots in such episodes as “Inca Mummy Girl,” (a seal), “Life Serial” (a mummy’s hand), “Becoming” (the sword of the virtuous knight who encased Acathla in stone and, it might be argued, the stone Acathla himself), “I Robot. . . You Jane” (a book in which a demon’s spirit has been imprisoned), “Halloween” (Ethan’s enchanted costumes), and others, but this is also the whole basis of Warehouse 13, a show created by one of Buffy’s alumni, writer Jane Espenson.
Devise a Plot Generator (or Two)
A plot generator, or McGuffin, as Alfred Hitchcock calls this device, is simply an element of the plot that exists for no other reason than to propel the storyline forward. In Hitchcock's own work, such McGuffins include the money stolen by Marion Crane in Psycho, the gift of the lovebirds in The Birds, and the uranium in Notorious. In Buffy, the Hellmouth, which attracts evil agents because it is a center for the convergence of mystical energies, is a plot generator. It could be argued that the witchcraft that is practiced by Willow, Giles, Jenny, Ethan, and other characters in the series is also a plot generator, for many of the show’s storylines result from the casting of spells and curses and other effects of witchcraft.
Relate Your Story to Past and Future Times (and to Other Worlds)
The idea that there is a long line of vampire slayers, the latest of whom happens to be Buffy, allows the writers to relate the series’ present to past slayers’ lives and deeds, as does the extraordinarily long lifespan of demons such as Darla, Angel, Drusilla, and others. The presence of characters who can defy the physical laws of the universe by the practice of magic also allows the writers to create alternate realities, parallel dimensions, and futuristic worlds, thereby expanding the setting and the narrative possibilities of the series almost infinitely.
Write Cross-Genre Fiction
Dean Koontz was one of the first big-name writer to pen cross-genre fiction, simultaneously including in his work elements of horror, fantasy, science fiction, romance, and the thriller. As a result, he interests many more readers than he might have attracted had he restricted himself to science fiction and horror, the two genres in which he initially made his mark. Not only does Buffy’s creator, Joss Whedon, likewise increase his series’ fan base by tossing several literary genres into the Buffy stew, but he also increases the possibilities for storylines. The slayer, for example, can be in love with a vampire whom she may have to kill or who may kill her, her family, or her friends, and the monsters whom she fights can be the products of mystical forces, scientific experiments gone awry, visitors from other worlds or realities, government agents, or dead men walking.
Use Pastiche
Pastiche is the imitation of another literary style, convention, trope, character, storyline or other element. Sometimes, pastiche is ironic or satirical, but it need not be. By availing oneself of the traditions and conventions of the genre or genres of which one’s own work is an example, one can realize many ideas for plots that otherwise would go by the wayside. Buffy is certainly not shy about using pastiche to generate storylines, as a number of episodes’ plots suggest:
“Out of Sight, Out of Mind”/The Invisible Man
“Some Assembly Required”/Frankenstein
“Inca Mummy Girl”/The Mummy
“Go Fish”/The Creature From the Black Lagoon
“Beauty and the Beasts”/The Strange Case of Dr. Jekyll and Mr. Hyde
“Dead Man’s Party”/Pet Sematary, The Night of the Living Dead, the Gorgon myth
“Gingerbread”/“Hansel and Gretel”
“Buffy vs. Dracula”/Dracula
“Life Serial”/Groundhog Day
Whatever leaf one takes from the tree of another’s work, whether by capitalizing upon familial relationships, offering alternate explanations, working the setting, introducing new characters, using parallel plots, using subplots, employing foils, enriching characters’ lives with back stories, using artifacts, devising a plot generator, relating the story’s present to past or future times, writing cross-genre fiction, or using pastiche, it is necessary in such extrapolations to make the use of these elements one’s own. For example, Buffy uses many of the traditional characters of horror and science fiction, including the werewolf, Dr. Jekyll and Mr. Hyde, the invisible man (or girl, in Buffy), the mummy, and others. However, in doing so, by associating these stock characters both with existential crises in the lives of the Buffy characters themselves and, through the use of metaphor, a universal state or condition that is common to all humanity, the show’s writers make the use of such characters their own. The werewolf (“Phases”) symbolizes the volatile moodiness of youth (and, in Buffy, emphasis is laid upon the humanity of the werewolf, which, after all, is human 27 days out of the month); the Dr. Jekyll and Mr. Hyde figure (“Beauty and the Beasts”) is a metaphor for the violent lover in an abusive relationship; the invisible girl in “Out of Sight, Out of Mind” is ignored by everyone else and thus represents the effects (and cruelty) of being excluded by one’s peers; the mummy in “Inca Mummy Girl” symbolizes a life sacrificed for others and is, therefore, a character whose predicament parallels that of Buffy herself, who longs to lead a normal life, but must often sacrifice her own desires for the welfare of others, including society and even humanity itself.
By employing these same techniques for generating storylines in one’s own fiction, a writer will find that he or she has a surfeit of plots rather than a few.